The 400-Year Legacy of Nambu Kodai Katazome

Please tell us about Nambu Kodai Katazome and its characteristics.

Nobuaki: The roots of Nambu Kodai Katazome go back to the Muromachi period. Originally, the technique was used to dye family crests and emblems onto banners, standards, and tent curtains for samurai. Over time, each feudal domain developed its own distinctive Katazome, and intricate patterns began to adorn samurai attire such as Kamishimo, Hakama, and Kosode.

Today's "Nambu Kodai Katazome" began in 1628 (Kanei 5), when Lord Yoshimitsu Nambu of the Nambu family relocated from Nambu-go in Yamanashi Prefecture to Morioka and brought along his official dyer, Sanemon Ebisuya, who established the "Ebisuya" workshop in Morioka.

Among the patterns preserved at Onosensaisyo, some date back over 400 years. The true charm of Nambu Kodai Katazome lies in the beauty of its patterns.

Some of the most iconic designs include the family crest of the Nambu clan, "Mukaizuru," the "Senba Chidori" depicting flocks of plovers flying along the coast, and the oldest known pattern, "Ogi." These patterns all encapsulate both delicacy and strength. While specialization is the norm in the Katazome world, at Onosensaisyo, every process from stencil carving to dyeing is handled seamlessly in-house.

The Faithfully Preserved Techniques of Katazome

Please explain the techniques of Nambu Kodai Katazome.

Nobuaki: Nambu Kodai Katazome begins with carving patterns onto a stencil using a small blade. The stencils, called "Shibugami," are made by applying persimmon tannin to Japanese paper for added strength. Each fine pattern is painstakingly hand-carved, one by one. There are even stencils from centuries ago that still remain, and we sometimes recreate old designs or draw inspiration from them for new ones. Carving is one of the most vital skills and takes years of dedicated practice and patience to master.

Next comes the glue application. The pre-treated fabric is laid underneath the stencil, and paste is applied with a spatula through the stencil onto the cloth. This "resist paste" is made from rice flour, bran, and a pinch of salt. The ingredients are steamed and mixed multiple times. The artisans rely on their touch; the paste can't be too hard or too soft. Where the resist paste sits, it prevents the dye from penetrating, so when the work is finished, the patterns appear in crisp white against the dyed fabric.

The final process is indigo dyeing. The dye is produced over about two weeks by fermenting Sukumo, wheat bran, wood ash, and sake. Managing temperature and humidity is crucial, and in Morioka, the winter cold can be too harsh, so the process may be paused in the coldest months.

During dyeing, the glued fabric is dipped into indigo dye, repeatedly dyed, washed, and dried to achieve the preferred depth of color. The combination of glue application and indigo dyeing results in delicate patterns infused with rich, deep hues.

Continuing Traditions while Embracing New Challenges

Please tell us about the process that led you, Nobuaki, to decide to become the 18th generation successor.

Nobuaki I didn’t initially plan on taking over the family business. I originally aspired to pursue a science and engineering path, and I wanted to become an engineer. I was uncertain about my direction, but eventually I decided to attend an art university and studied textile design. After graduation, I found work in the design field and joined the family business at the age of 27.

I wasn’t especially burdened by the idea of inheriting the business, but somewhere in my heart, I think I felt that “I can’t be the one to end this legacy.” Of course, I also had my doubts, but somehow, the feeling of “Let’s give it a try” naturally welled up inside me.

Once I actually took over, I realized anew just how much I had to learn. Even today, I spend my days valuing tradition while also searching for ways to create products that resonate with the times.

What kind of decision did you, Akihiro, have to make in order to join the family business as the 19th successor? Also, please share your future outlook.

Akihiro I made up my mind to fully devote myself to the world of dyeing after working for a regular company upon graduating university, and then attending a technical school to study dyeing. Ever since I was young, I grew up close to the scene of stencil carving, so my interest in craftsmanship was always present. However, taking over a family business with more than 400 years of history is by no means a simple decision. While I could feel the expectations around me, the timing coincided with my own desire to take on this role, so at 30 I returned home and made up my mind to join the family business.

Right now, I’m in the process of mastering each skill, such as rice paste application and dyeing, while being entrusted with actual production steps. When I first came back, I felt a strong urge to create new things one after another, but standing at the storefront, I realized just how many people come because they love our traditional patterns and long-standing products. At present, rather than drastically changing our traditions, I want to layer my own ideas subtly, seeking new forms of expression that are an extension of what’s been handed down to us.

There are plenty of ways to save effort, but we believe true value lies in preserving traditional methods. However, I also think tradition is not just about preservation—it needs to be flexibly adapted to fit the times. Without compromising on the essence, we want to take on the challenge of creating things that also appeal to younger generations.